view additional image 1
View in a Room ArtworkView in a Room Background
The basic graphic idea of this print series is that of image manipulation and the associated critical questioning of the visible: To what extent can a new visibility in the midst of the virtualized visible rediscover the artistically "invisible"? The title alludes to the myth of Icarus: Icarus, who despite his father Daedalus' warning, comes too close to the sun that melts the wax of his wings and Icarus ultimately paid for his devilment with his life.
In these works, Osnowski seems to react to modern automatisms of "digital vision" by trying to confront the viewer with this virtualization of image vision. The blurring creates image spaces that irritate the gaze and challenge and activate the cognitive system. Osnowski suggests to the viewer a landscape that dissolves, fades or falls, and that the motif can only be recognized in vague and vague outlines. 
Therefore he uses the possibilities of the woodcut technique in very different ways. As already known from his previous works, he consistently cuts linear codes in different grid sequences manually into the wood: Horizontal and vertical lines in precise, constant intervals form the basic graphic structure.
The final print is made by hand, only with the simple glass lens.This is a unique print in magenta and cyan blue.
The basic graphic idea of this print series is that of image manipulation and the associated critical questioning of the visible: To what extent can a new visibility in the midst of the virtualized visible rediscover the artistically "invisible"? The title alludes to the myth of Icarus: Icarus, who despite his father Daedalus' warning, comes too close to the sun that melts the wax of his wings and Icarus ultimately paid for his devilment with his life.
In these works, Osnowski seems to react to modern automatisms of "digital vision" by trying to confront the viewer with this virtualization of image vision. The blurring creates image spaces that irritate the gaze and challenge and activate the cognitive system. Osnowski suggests to the viewer a landscape that dissolves, fades or falls, and that the motif can only be recognized in vague and vague outlines. 
Therefore he uses the possibilities of the woodcut technique in very different ways. As already known from his previous works, he consistently cuts linear codes in different grid sequences manually into the wood: Horizontal and vertical lines in precise, constant intervals form the basic graphic structure.
The final print is made by hand, only with the simple glass lens.This is a unique print in magenta and cyan blue.
The basic graphic idea of this print series is that of image manipulation and the associated critical questioning of the visible: To what extent can a new visibility in the midst of the virtualized visible rediscover the artistically "invisible"? The title alludes to the myth of Icarus: Icarus, who despite his father Daedalus' warning, comes too close to the sun that melts the wax of his wings and Icarus ultimately paid for his devilment with his life.
In these works, Osnowski seems to react to modern automatisms of "digital vision" by trying to confront the viewer with this virtualization of image vision. The blurring creates image spaces that irritate the gaze and challenge and activate the cognitive system. Osnowski suggests to the viewer a landscape that dissolves, fades or falls, and that the motif can only be recognized in vague and vague outlines. 
Therefore he uses the possibilities of the woodcut technique in very different ways. As already known from his previous works, he consistently cuts linear codes in different grid sequences manually into the wood: Horizontal and vertical lines in precise, constant intervals form the basic graphic structure.
The final print is made by hand, only with the simple glass lens.This is a unique print in magenta and cyan blue.
The basic graphic idea of this print series is that of image manipulation and the associated critical questioning of the visible: To what extent can a new visibility in the midst of the virtualized visible rediscover the artistically "invisible"? The title alludes to the myth of Icarus: Icarus, who despite his father Daedalus' warning, comes too close to the sun that melts the wax of his wings and Icarus ultimately paid for his devilment with his life.
In these works, Osnowski seems to react to modern automatisms of "digital vision" by trying to confront the viewer with this virtualization of image vision. The blurring creates image spaces that irritate the gaze and challenge and activate the cognitive system. Osnowski suggests to the viewer a landscape that dissolves, fades or falls, and that the motif can only be recognized in vague and vague outlines. 
Therefore he uses the possibilities of the woodcut technique in very different ways. As already known from his previous works, he consistently cuts linear codes in different grid sequences manually into the wood: Horizontal and vertical lines in precise, constant intervals form the basic graphic structure.
The final print is made by hand, only with the simple glass lens.This is a unique print in magenta and cyan blue.
The basic graphic idea of this print series is that of image manipulation and the associated critical questioning of the visible: To what extent can a new visibility in the midst of the virtualized visible rediscover the artistically "invisible"? The title alludes to the myth of Icarus: Icarus, who despite his father Daedalus' warning, comes too close to the sun that melts the wax of his wings and Icarus ultimately paid for his devilment with his life.
In these works, Osnowski seems to react to modern automatisms of "digital vision" by trying to confront the viewer with this virtualization of image vision. The blurring creates image spaces that irritate the gaze and challenge and activate the cognitive system. Osnowski suggests to the viewer a landscape that dissolves, fades or falls, and that the motif can only be recognized in vague and vague outlines. 
Therefore he uses the possibilities of the woodcut technique in very different ways. As already known from his previous works, he consistently cuts linear codes in different grid sequences manually into the wood: Horizontal and vertical lines in precise, constant intervals form the basic graphic structure.
The final print is made by hand, only with the simple glass lens.This is a unique print in magenta and cyan blue.
98 Views
2

VIEW IN MY ROOM

IKARISCHE LANDSCHAFT 3/6 - Limited Edition of 6 Print

Stefan Osnowski

Portugal

Printmaking, Paper on Paper

Size: 19.7 W x 27.2 H x 0.1 D in

Ships in a Tube

$2,190

Shipping included

 Trustpilot Score
98 Views
2

Artist Recognition

link - Artist featured in a collection

Artist featured in a collection

About The Artwork

The basic graphic idea of this print series is that of image manipulation and the associated critical questioning of the visible: To what extent can a new visibility in the midst of the virtualized visible rediscover the artistically "invisible"? The title alludes to the myth of Icarus: Icarus, who despite his father Daedalus' warning, comes too close to the sun that melts the wax of his wings and Icarus ultimately paid for his devilment with his life. In these works, Osnowski seems to react to modern automatisms of "digital vision" by trying to confront the viewer with this virtualization of image vision. The blurring creates image spaces that irritate the gaze and challenge and activate the cognitive system. Osnowski suggests to the viewer a landscape that dissolves, fades or falls, and that the motif can only be recognized in vague and vague outlines. Therefore he uses the possibilities of the woodcut technique in very different ways. As already known from his previous works, he consistently cuts linear codes in different grid sequences manually into the wood: Horizontal and vertical lines in precise, constant intervals form the basic graphic structure. The final print is made by hand, only with the simple glass lens.This is a unique print in magenta and cyan blue.

Details & Dimensions

Printmaking:Paper on Paper

Artist Produced Limited Edition of:6

Size:19.7 W x 27.2 H x 0.1 D in

Shipping & Returns

Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

Stefan Osnowski is a German visual artist using one of the oldest reproduction processes to create an extremely filigree, digitally appearing, ultra-modern aesthetic. He exclusively uses the centuries-old technique of woodblock printing. Osnowski is investigating digital codes to transform it into analog ones to represent phenomenas such as time, movement and spaces in a two dimensional image frame. The transformation of the original image into an abstract binary bar code - 1 or 0 – carved into the wooden panel and printed by hand; gathering a theme or selecting a medium is just as much a part of the concept as physical contact and hand-crafting. He is living and working in Lisbon (Portugal).

Artist Recognition

Artist featured in a collection

Artist featured by Saatchi Art in a collection

Thousands Of Five-Star Reviews

We deliver world-class customer service to all of our art buyers.

Global Selection

Explore an unparalleled artwork selection by artists from around the world.

Satisfaction Guaranteed

Our 14-day satisfaction guarantee allows you to buy with confidence.

Support An Artist With Every Purchase

We pay our artists more on every sale than other galleries.

Need More Help?

Enjoy Complimentary Art Advisory Contact Customer Support